The Girl Who Walked Home Alone: Bette Davis, A Personal Biography

Summary

Even a short list of Bette Davis's most famous films -- Of Human Bondage; Jezebel; Dark Victory; The Private Lives of Elizabeth and Essex; Now, Voyager; All About Eve; What Ever Happened to Baby Jane? -- reveals instantly what a major force she was in Hollywood. Her distinctive voice, her remarkable eyes, her astonishing range and depth of characterization -- all these qualities combined to make Bette Davis one of the finest performers in film history.

Drawing on extensive conversations with Bette Davis during the last decade of her life, Charlotte Chandler gives us a biography in which the great actress speaks for herself. (It was she who suggested that Chandler write this book.) Chandler also spoke with directors, actors, and others who knew and worked with Davis. As a result Davis comes to life in these pages -- a dynamic, forceful presence once again, just as she was on the screen.

Though she owed everything to her mother, Ruthie, Bette Davis remained fascinated all her life by her hard-to-please father, who walked out on his family. She remembered the disappointment -- which never left -- over her father's lack of interest in her, and she believed that her resentment of him was probably a major factor in her four failed marriages: she kept putting her men in a position where they would eventually disappoint her. She spoke happily of her love affairs with Howard Hughes and William Wyler; she recalled her leading men, favorite co-stars, and unloved rivals; and she took great care to refute the persistent Hollywood legend that she was difficult to work with. Alone and ill, she faced her last days with bravery and dignity.

The Girl Who Walked Home Alone is a brilliant portrait of an enduring icon from Hollywood's golden age and an unforgettable biography of the real woman behind the star.

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The Girl Who Walked Home Alone - Charlotte Chandler

Alone

Prologue

BEHIND THOSEBETTEDAVIS EYES, under the blue eye shadow, beneath the false eyelashes was the private Bette no one, not even Bette herself, really knew. The world knew only her extended self—the image of her as reflected in the parts she played, all those bitches I had to take everywhere with me.

At the estate auction held at Doyle’s Auction House in New York City, Bette’s treasured soup tureen, her prized dining room chairs, and a box of her false eyelashes were featured.

The eyelashes brought $600.

ON THE OCCASIONof Elizabeth Taylor’s fiftieth birthday, agent Robert Robby Lantz told me, there was a tremendous party planned at the home of Carole Bayer Sager, who was three doors away from Elizabeth’s.

Lantz was invited to the party, as was Bette Davis, whom he represented for many years, and who was his friend.

"I told Bette that I would take her to the party. ‘I’ll come by and pick you up at nine o’clock.’

"I said, ‘Bette, I know Elizabeth for a hundred years. I love her dearly, but eight o’clock for Elizabeth means ten. So let’s go at nine.’

"She said, ‘No. No, no, no!’ So, that’s all. I do what Bette wishes.

"I picked her up. We arrive at the house, and there’s no sign of Elizabeth. There aren’t many people there. Gradually, by nine-thirty, maybe a little later, the house had filled with everybody of any consequence in Hollywood; heads of studios, stars, directors, agents.

"The fiftieth birthday of Elizabeth Taylor!

"Bette sat in a big chair in the drawing room, and she didn’t look at all pleased. As time went on, she looked even less pleased. She said to me, ‘I am not enamored of big parties!’

"I knew we weren’t going to get started with dinner until after ten and that Bette was probably going to want to leave early. I made a plan so we could get up and disappear. I arranged with the driver where he should be with the car.

"And that’s exactly what happened. Bette had already been there so long, she didn’t want to stay until the end of the dinner. We left, and I was hoping we wouldn’t be noticed.

"But as we went toward the car, we heard the sound of someone wearing high heels running after us. It was Elizabeth. Running right behind her was Michael Jackson.

"Elizabeth was so out of breath that it took a moment before she could speak. ‘Robby,’ she said, ‘could you please ask Bette if she wouldn’t mind. All Michael wants is, please, could he have his photograph taken with her.’

"Now, Bette was standing right there, but Elizabeth addressed her request to me, rather than to Bette, so I could act as her agent.

"Michael Jackson was at the height of his fame, but that didn’t matter to Bette. What mattered to her was that she had been a guest in Elizabeth’s house, and it was Elizabeth’s birthday.

"Bette reached into her small evening bag and took out her lipstick. It was dark, but she didn’t need to look into a mirror as she put it on.

"Bette moved close to Michael, who was trembling slightly, and posed, smiling directly at the camera.

"With Michael’s camera, which she had taken from him, it was Elizabeth who took the picture.

"‘Take one more to be sure,’ Bette said, and Elizabeth did.

Bette Davis was a true star’s star.

PRINCESSDIANA LEARNEDfrom her hairdresser, Richard Dalton, that he had been invited to meet Bette Davis, who was in London to promote her bookThis ’n That. Thrilled by the opportunity to meet her favorite actress, Diana delegated Dalton to invite Bette to Kensington Palace to have tea with the Princess.

At the television station, Anne Diamond, the show’s hostess, introduced her friend, Dalton, to Bette Davis, who was seated on the set.

Dalton was stunned to see how frail the actress was. After numerous serious illnesses, she was skeletal, her face terribly drawn. In one bony hand, she held a cigarette.

Bette relished a long breath of smoke, then slowly looked Dalton up and down as she exhaled. Sit down, young man, she enunciated quite precisely.

Dalton sat down.

Bette was smoking continuously. Occasionally, she reached for a silver goblet. There were whispers that it contained something more than water.

Dalton never found out what the goblet contained, nor did he care. He was amazed that the actress, appearing so ill, was able to carry on at all; but carry on she did, purposefully, astounding everyone present. Everyone there felt that the TV audience would be pleased by their amazing Bette Davis interview.

After the show, Dalton nervously delivered the royal invitation to Bette Davis. He knew how dear to the heart of Diana the invitation was and how much she was looking forward to tea with the great star, and he did his best to convey this. He was anxious to come through for the Princess.

Bette answered without hesitation, but it wasn’t the answer Dalton was expecting.

I have never met royalty, she replied, and it’s far too late now.

Dalton tried to persuade her, todissuade her from her objections. All for naught. He returned to Kensington Palace with his negative report.

He had tried his utmost, but the young and beautiful Princess was not accustomed to hearing the word no. She was dismayed, terribly disappointed, and perplexed.

"What did Bette Davismean?" she asked Dalton. Princess Diana did not live to be old enough to understand.

Introduction

ONE MUST LIVEin the present tense, but I have always lived in the present tensely," Bette Davis told me.

I have few regrets, not because I’ve done everything in my life perfectly, but because my mother, Ruthie, instilled in me the idea that I should never think about what I’ve missed, only about what I’m missing.

From the time she was a little girl, Bette felt that life had something exceptional waiting for her, and that it would find her or that she would findit.

"None of us knows what our future will be, but you might say I was born with two crystal balls.

"I wanted the lioness’s share. I had to be the best. I’m an overachiever. I always had the will to win. I felt it baking cookies. They had to be thebest cookies anyone ever baked. But there was a price to pay.

"If a man is dedicated to his work, he’s more of a man. If a woman feels that way, she’sless of a woman. Those same qualities that women find so absolutely wonderful in a man, men don’t find so wonderful in a woman.

"I’m the one who didn’t get the man, which is the more interesting character on the screen, but in real life sometimes I wish I could just have been the girl who got the man, and kept him. I got four husbands and several lovers, but I didn’t keep any of them. I was invited to the White House, but no man stayed to sharemy white cottage."

She enjoyed being Bette Davis but sometimes it was a burden. "People wished to see the character they saw on the screen, or there were looks of disappointment on their faces.

"They actually expect you tobe certain characters they saw in the films. They think I’m a difficult person because of the parts I’ve played. They’re disappointed in you if you don’t say those lines. They don’t want you to be out of character.

"I expect you to tell everyone that I’m not that person. Anyway, I’m notjust that person.

"I feel your audience, if you are a star, comes to see you with certain preconceptions and expectations. They do not want you so predictable that everything you are going to do is predictable, but they do want you to be at least within fifty percent of the character they are expecting. Speaking loosely, I would estimate about seventy-five percent is generally good. The trick is to go as far as you can, but not too far.

"Of course, I understand that a public person gives up a certain right to privacy, but I never wanted to be in the ‘slime light.’ ‘Press’ is all too often made up of two words, ‘pry’ and ‘mess.’ They’re too busy looking for ‘bedlines.’

"No one has been able to get any headlines, or bedlines, from me, thank you very much. I’ve never been the kiss-and-yell type.

"I’ve never understood wanting to put public people under the microscope. I do not understand this celebrity culture in which we live. Why are we so fascinated with the private lives of public people?

"Why are we peephole people?

"I’ve always hated being gossiped about. When I heard that people were talking about me, I consoled myself with what my mother, Ruthie, used to say: ‘Birds peck at the best fruit.’

Despite the negative aspects of fame, Bette cherished and enjoyed her own celebrity. She felt she had earned it. I’m proud to say that I’ve paid my dues, she told me.

"Joe Mankiewicz [writer-director ofAll About Eve ] once told me, ‘Bette, on your tombstone will be inscribed, She did it the hard way.’ When he said that, I took it as a very large compliment. I was totally flattered. Totally. I thought it meant I hadn’t slept my way to the top, that I was areal actress. I liked that. Of course, I’m not ready for my epitaph,yet!

"Then, I rethought what Joe said. Now I think what he meant was that if therewas a hard way to do something, I’d choose it—for myself and everyone around me. But I had my standard for the film. Excellence. I couldn’t let anything get in the way of that. I never made it harder for anyone else than I did for myself. You know, I’m not quite as feisty as people think.

"Someday I mean to call dear Joe and ask him what he meant. Joe is the kind of person who would do crossword puzzles in ink. One thing he was right about. I probably don’t really enjoy anything if it’s too easy. I enjoy challenges. When something is difficult, it doesn’t stop me; it challenges me to go on.

"The one word I’dnever want on my tombstone is ‘quitter.’

"I still pray to God that somebody will send a good script my way. Every phone call, I hope. I wait for the mail. Today, in 1980, you have to be very lucky.

It used to be that there were so many films, and writers thought about and wrote parts for you, and the studio bought properties for you. Now, you have to fit the part, a part that wasn’t created for you that you can do.

ON A DAY INMARCH1980, in New York City, my phone rang. I picked it up and I heard a distinctive woman’s voice saying my name. The voice was one I had been familiar with all my life, though only from movie theaters and on television. It was Bette Davis. She explained that my number had been given to her by our mutual friend, publicist John Springer.

She said that she had readHello, I Must Be Going, my recent book about Groucho Marx, and she wanted to know if I would be free to have lunch with her. She suggested we meet at her apartment, and then go to a restaurant.

The very next day I went to the Lombardy Hotel, on East 56th Street, just off Park Avenue in Manhattan. I took the elevator up to Bette’s floor, the fourteenth, where the long hall leading to her apartment, 1404, was dimly lit. There, at the far end, framed in the proscenium arch of the doorway with the light behind her, was Bette Davis, a cinematic vision.

This way. Here I am.

She leaned in a graceful pose against the door, her soft shoulder-length hair casually framing her face. Her black dress was not tight, but clinging softly, with a draped effect. Her skirt was knee-length, revealing shapely legs in ultrasheer nylons and black high heels. I had the illusion that I was walking into a 1940s Warner Brothers movie.

I always like to have the door open and be waiting for the person who’s coming so they don’t have to arrive and meet a closed door. Don’t stand there. Come in.

My attention was drawn to the slashes of bright red lipstick, but even more striking were her eyes. They were accentuated by blue eye shadow and layers of false lashes with brown, not black, mascara. It was the eyes that dominated.

I was to learn later that Bette customarily took this kind of care with her appearance when meeting someone for the first time. If for no other reason than that she had to put so much effort into a first meeting, she didn’t have many of those. She shared with Mae West the belief that the first impression was the one that counted most and always remained. The next time, one met more of a private person and less of a star, someone who had put in fewer hours of preparation. By the third meeting, she could be quite casual, without her false eyelashes, without the carefully coiffed wig, but never without her bright red lips.

She insisted on hanging up my jacket, which I had left on a chair. We don’t want it to get wrinkled, she said. What a beautiful Hermès scarf you’re wearing. Absolutely beautiful.

Gleefully, she accepted the gift-wrapped box of Swiss chocolates I had brought her, tearing the paper in her haste to open the package, exclaiming, "Ilove gifts!"

The furnished hotel apartment would have seemed drab had it not been filled with small personal touches—books, flowers, a music box, all of which she had added to create the ambience of a home. As a child, I didn’t have a secure home and possessions. We were always moving.

Being a homebody, she immediately had to make a place into her own, wherever she was, even if only for a few days, to make it seem she lived there. "When I travel, I bring things from my home with me, so I can establish a familiar relationship with my environment.

"Playing house is a childhood game I’ve never put away. My home has always meant so much to me. It was my kingdom, though it turned out to be my queendom. William Randolph Hearst’s San Simeon may have been the most famous house in America, a palace, but when I was invited to dine at San Simeon, there wasn’t any soap in the bathroom.

"Wherever I am, I think of the place I’m in as my home, and I can’t bear sloppiness or disorganization. I feel sorry for people who waste their time hunting for things. My father could go into his bedroom in pitch darkness and find his socks, always in a pair. I like order, but I’m not crazy-clean like Miss Joan Crawford. Miss Crawford couldn’t even use a bathroom unless she’d gotten down on her knees and scrubbed it clean first.

"I like to dust. Have you ever noticed the objects look back at you in a different way after you’ve dusted them?

"I don’t like waste. It’s my New England background, of which I’m very proud. I’m a Yankee. Even playing house as a child, I kept a very neat house.

I’m always collecting things. I don’t consider myself materialistic, but things do make me feel good. Reassured. It’s easier to know them than people, because objects accept you as you are.

She introduced me to Sir Rufus, a rabbit music box, wearing a black velvet tailcoat lined with white satin. Would you like to meet Sir Rufus? I love music boxes. She wound him up and played his tune for me.

He’s absolutely ready for a party, at all times, she said. "Do you recognize his song? It’s Irving Berlin’s ‘Always,’ my favorite. How I miss those sentimental melodies. We live in such an unsentimental time.

"I love the past, but I don’t live in it. I have always thought about the ahead.

"The worst thing about the past is to lament the fact that today’s so different, whenever it doesn’t compare favorably…

It’s interesting how memories pop into your head as you get older, the little kind of vignettes that in the midst of washing the dishes come to you, so that they are not really in the past, but in the present, with us.

She was pleased that I had accepted her invitation so quickly, without being coy or playing games.

Rather than going out for lunch, she proposed we have something in her apartment. She said she wanted a quiet atmosphere for our conversation, and she had prepared our lunch herself rather than having to wait for room service. Then she announced she was absolutely starving.

As she moved toward the kitchen, I asked if I could do anything.

Absolutely not, she called back."Absolutely not!" I was later to understand that everything about Bette was absolute.

A few minutes later, she returned with a nicely set tray of bread, crackers, and assorted cold cuts. There were little porcelain dishes of butter, mustard, and mayonnaise. The paper napkins had something written on them.

Usually, I have my own linen napkins, she said, but for the moment, I only have these paper napkins. They say, ‘Happy Hour, five to seven.’ She laughed. Imagine scheduling a time to be happy.

She put the tray down. "I got all the food at a very nice deli down the street.

If you’re a movie star, people think you’re very rich. And they expect you to pay accordingly and to tip accordingly. And you don’t even know what tip they’re expecting. I understand that, and I try to tip more, so room service isn’t something I feel I can afford. Besides, I really would rather prepare our lunch myself.

The apartment had vases filled with fresh flowers. Do you like flowers? She didn’t wait for my answer. Of course you do. All of us women do. A gardenia was floating in a glass bowl. "I love gardenias. They’re so sexy.

"I always liked men who sent me flowers, but I have to admit most of the flowers I’ve enjoyed in my life, I’ve bought for myself. A great many of them, I grew. I’m a country mouse, you see.

I’m rather good at flower arrangement, if I do say so myself. I find flowers very calming. In my professional life, I’ve enjoyed some complications and challenges. Even chaos. But in my home, there I demand order. It’s easy to achieve because the furniture never gets hysterical and seldom moves around on its own. If you have order in your home, it offers a refuge and helps you face disorder in the outside world.

After lunch, Bette served tea, meticulously prepared by her from loose tea leaves, not bags as she pointed out, with cookies, which she called biscuits, a word she preferred after her several visits to England.

As we were having our tea, she suggested we get down to business. Business, as it turned out, was a book she hoped I would write about her as I had written about Groucho and the Marx Brothers. If the idea interested me, which it did, she suggested our making a start on the project while she was in New York and totally available.

Do you ever have writer’s block? she asked.

No, never, I answered. Only publishing block.

She said she envied my being a writer, because as such I was a blank page person and could write on it by myself, while she had to wait for a phone call in order to be able to perform. "A watched telephone never rings, you know.

I can tell you I learned it well after my leaving Warner Brothers looked like a debacle instead of a triumph. I detest waiting for the telephone to ring. I still shudder when I think about waiting for Willie to call. That’s William Wyler. He was the love of my life in case you don’t know.

She said that she didn’t believe in pretending. The only limit is to stay within good taste; however, remember this is the ’80s, not the ’50s. I want to set the record straight. I don’t want to seem namby-pamby. I’ve reached that time in life when I can afford to be more totally frank and forthcoming now that most of me is in the past.

She wanted a summing up in the manner of Somerset Maugham’sThe Summing Up.

"I read what I could of Maugham before I didOf Human Bondage. In those days I was too busy career-building to read much, but I’ve always liked reading, especially Maugham. Later when I was what you call between jobs, I readeverything of Maugham. Everything." She believed that playing Mildred in Maugham’sOf Human Bondage was an absolute turning point in her career, and thatThe Letter was one of her best films.

"I feel I have something to say that can be of use to other people, especially women, not because I did it right, but because maybe someone can learn something from my mistakes. I think it’s possible to learn more from mistakes than from successes, but it’s good if anyone can learn from someone else’s without having to make them all for yourself.

"Fair actresses should never use black mascara if they want their eyes to show up. It’s the opposite of what they think, that black mascara will make them show up more.

"Of course, there’s nothing like blue eye shadow to show up blue eyes, but that’s obvious. The secret is, if you are fair, black mascara and dark eye shadow will make you look like a clown, or a harlot.

I feel a woman should write the book about me. No question about it. She said she wouldn’t feel as comfortable speaking to a man. No man has ever really understood me. Come to think of it, no man has ever even tried. Well, except maybe for the female impersonators. Physically and vocally, they studied me, outside-in.

Bette was a great favorite among impersonators who did impressions of the stars because she had such strongly individual characteristics. She considered their attention a compliment, highly flattering. She particularly enjoyed Charles Pierce’s Bette Davis, and called him supremely talented.

"For a long time, the impersonators didn’t do me. I was worried about it. It meant I didn’t have a distinct style.

"People think I don’t like those impersonators who do me. Well, they’re wrong. I like it very much, as long they are very good. The only time I don’t like it is if they aren’t good, or worse if they’rebetter than I am. I watch them to learn about myself. Until I saw Arthur Blake, I never knew I moved my elbows so much.

Let me do an impersonation for you of an impersonator doing me.

She struck a characteristic Bette Davis pose and then spoke as a caricature of herself:

And now I’d like to do a scene for you—from all of my films.

Posing, she took a long drag on her cigarette, and then slowly exhaled the smoke.

Then, she turned to me and said, So, what do you think?

It was a rhetorical question.

Our many conversations occasionally took place at lunch in a restaurant, but mostly we met in her apartment, her preference because of the privacy it afforded. She felt we could get more work done there.

One day, as Bette and I entered the Lombardy, she saw Lew Wasserman, the head of Universal-MCA. Long before he became one of the most powerful men in Hollywood, he had been her agent, and had done much to shape her career. There was a warm greeting, an embrace, and then Wasserman went on his way.

Bette sighed wistfully and said, He was such a beautiful boy.

While we were having lunch, she said, I’m going to live a long, long, long, long time. Bette Davis was in good health, full of energy, though fearing her career was in decline. She was, however, optimistic and hoped that there was anotherAll About Eve in her future. She described herself as stoically optimistic.

I was taught not to wear my heart on my sleeve, to keep a stiff upper lip, all that sort of thing, true to being a New England girl. Letting your emotions show, I was told, is like letting your slip show. I’ve always felt I had to wear a suit of armor in public, even if the label said Chanel or Orry-Kelly.

Orry-Kelly was the designer of her costumes at Warner Brothers. After Orry-Kelly, costume designer Edith Head worked on several of her films, includingAll About Eve. As we spoke, Bette arranged her dress carefully, to avoid wrinkling.

"This is one of my favorite dresses. Edith Head told me you owe a responsibility to a wonderful dress. Dear Edith—how I miss her, and Orry-Kelly, too, although when we worked together, I didn’t get along all that well with him. Would you believe Orry-Kelly was his real name? But without the hyphen. Well, why not? Who would make up a name like that? They understood that I was helped to find my character through the right costume. Of course, that wasn’t all of it, but it was important to me.

"Edith even had me wearing the right underwear so I’dfeel the character, though the audience was never going to see my underwear. Most important of all, she understood how I felt about brassieres. I, of course, abhorred them. It’s something a man can’t fully understand. Edith and Orry understood the art of camouflage. The truth is nobody’s perfect. And nobody feels she’s perfect. That’s the truth. We can all see more faults in our bodies than anyone else can. We can get in closer for inspection and faultfinding."

From time to time Bette would take a lipstick out of her purse and apply it with three decisive slashes. She rarely used a mirror. Even when I’m home alone, I wear my lipstick, she confided. I feel naked without it.

Frequently she would retouch her lipstick when she finished a cigarette. As soon as she had retouched her lips, she was ready to light another cigarette, and leave her mark on it. Tennessee Williams, who knew her from his playThe Night of the Iguana, and before, once told me he thought of the color of Bette’s lipstick as whorehouse red.

As I spent more time with Bette, and with Bette when she was with other people, I observed that when she showed pleasure she didn’t genuinely feel with someone, only her lipstick smiled.

She sometimes changed her mood within a sentence as she relived memories. When the telephone rang a few times, she would answer simply, Yes? She was aware that it was rather abrupt, explaining to me, "I can’t abide wasting time on the phone.

I am the most notoriously rude person on the telephone among my friends, she told me. Not for years was I ever conscious of it, but I didn’t have time to sit and chat for ten hours. So I would answer the phone, ‘Yes?’ Whatever had to be said was said, then, half the time, I found myself hanging up near the middle of it. ‘Good-bye.’ Slam! I’m always saying good-bye when they’re saying a long good-bye. I say a quick good-bye.

She was rarely without a cigarette. A lot has been made, she said, "of the part smoking has played in my roles. There are some who said my cigarette should have received an Oscar. Well, that’s an exaggeration. Maybe a best supporting Oscar. I have to admit, I did use smoking to good effect.

The way I see it, in my films, drinking is the action and smoking is the reaction.

Bette had celebrity license, and she didn’t hesitate to exercise it. Being hysterical is like having an orgasm, she said. It’s good for you. There were probably some who didn’t feel it was so good forthem.

Bette said her favorite subject for conversation was work, and her second, men. "As for the men in my life, I couldn’t select my father. That was my mother, Ruthie’s, doing. But I could select my husbands, and I was a four-time loser. For this, I received a life sentence, a life of loneliness without possibility of parole.

"In selecting husbands, I confused muscle with strength. They didn’t look alike, but in many respects, they were the same man. All my husbands were canaries. Tweet, tweet, tweet!

"I was never the owner of my own feelings. Perhaps it’s that little edge of danger that makes passion possible, or anyway more glorious.

"I was a person who couldn’t make divorce work. For me, there’s nothing lonelier than a turned-down toilet seat.

"Wishful thinking is an important element of happiness. It has to do with looking forward. Part of happiness is being able to look forward to future happiness. It’s why men find us so foolish when we women ask them to promise that the passion and bliss we feel now will be mutually shared for years to come.

"The only man who can give you such an assurance would be a romantic who is as much of a fool as you are, or a liar. The latter is easier to find.

"Feelings can’t be promised. Actions can be promised, but not emotions.

"At a certain point, after my marriage to Gary [Merrill] ended, I knew I could never marry again. I had to face it. I was over-the-hill, that proverbial hill. I had to face that no man would want me for the reasons I wanted him to want me. I had to recognize a man wouldn’t want me for my old body. The greatest turn-on for me, with a man, washis desire for me. I always believed it was his desireonly for me, when I suppose it was just a matter of convenience, and thereI was, at hand. Men never wanted me, orseemed to want me, for my mind. They didn’t pay much attention to my mind. That was hard on a person who was as brain-vain as I.

"When they did pay attention to what I said, I wasn’t one to mind my p’s and q’s, whatever those are. We certainly use some strange expressions without questioning them.

"I wasn’t rich enough for a man to want me for my money, although there were men poorer than I, and I was assumed to be much richer than I was. Sometimes I myself got confused and assumed I was much richer than I was. And I felt I could always work. I was, after all, a star.

"Certainly a great deal of money has passed through my fingers, but I never counted. For me, money was taking care of my responsibilities, and I had plenty of them. I couldn’t afford to be poor.

I never begrudged the money to any of them. Well, anyway, not too often. The best thing about money is when you have enough of it not to have to think about it, to just take it for granted and have something left over for the people you care about. I would never want to spend my last penny and leave them without anything. Personally, I didn’t want bigger houses or fancier dresses, but I like freedom from economic pressure. I’ve lived as if old age was something for other people. I could never imagine myself being old, never—even after I already was.

On one occasion, when I arrived at her apartment, Bette greeted me, saying, Welcome to the lioness’s den!

"I have been called fearless. Well, Iam pretty much. I like to think of myself as a lioness, a lioness who couldn’t find a lion, as it turned out. I was doomed to live without a real mate in my empty den, though I always was protective of my cubs.

There are many things in my life of which I am proud, but my greatest joy is in my daughter, B.D. She has grown up to be a wonderful person, beautiful and strong, and honorable. She is the person in the whole world I know I can trust.

Sometime later, Bette asked me if I’d heard the story about Miss Crawford beating her children with wire coat hangers, and she asked me if I thought it was true. I told her what Douglas Fairbanks, Jr., had told me when he heard this story about his first wife. Referring to Joan Crawford by her real name, he said, It couldn’t be true. Lucille would never have permitted any wire hangers in her closet. She always insisted on having only covered hangers.

Fairbanks was Bette’s co-star in one of her early films. What a handsome boy he was, she said. How could he have married Miss Crawford, even when he was too young to know better?

The one thing in life she knew, Bette told me, was that her children wouldnever write such a hateful book about her.

She believed parents had to be firm, because only through imposing a strict code of values would your child know you loved him or her. Until your children hate you, you haven’t been a good parent. She said this to me only a few years before her daughter B.D. wroteMy Mother’s Keeper, a book Bette later referred to as a hateful indictment.

She went on: "Your children are there but a few short years. They grow up and leave you, but the power they have over you lasts a lifetime.

"From eighteen on, the parent has done most of what they can do. Parents certainly make mistakes. They’re human beings. They do the best they can. And if from eighteen on, you’re still blaming your parents, it’s a complete cop-out. This is ridiculous. You can take over your own life and undo what you think your parents did that was wrong. Of course, we’re not talking about horrible extreme abuses. We’re talking about the average child growing up today. We’re talking about the child who says when I was seven my mother said or did such-and-such to me, or shedidn’t say such-and-such, and it ruined my life.

"I feel today parents aren’t saying enough. And I feel strongly there has to be some fear in education. My Latin teacher, Mrs. Greenwood, I never forgot. We were petrified of her, butwe learned Latin. Constructive fear. Your children, sometimes you have to put the fear of God in them. You must!

"I’ve always thought every time we finished a film or a play, whatever, it’s just like giving birth to a child. ‘There it is, ladies and gentlemen. This is my baby. You may like it, and you may not.’ And you have to learn